. Annals of the South African Museum. Annale van die Suid-Afrikaanse Museum. 114 ANNALS OF THE SOUTH AFRICAN MUSEUM. d*MK 'MShdCtV *» Fig. 7. Detail from a 'Nimiquas' dance, showing women with painted faces (from Paterson 1777-9). The Nama women also painted facial masks with plant pigments; in other instances where paint was applied round eyes, nose and mouth, this could have been meant for masks. The methods that were used for making patterns varied: there were two references (Schouten 1665; Vogel 1679—apparently a plagiarism) to a red stone that seemed to have been used as a crayon; usually
. Annals of the South African Museum. Annale van die Suid-Afrikaanse Museum. 114 ANNALS OF THE SOUTH AFRICAN MUSEUM. d*MK 'MShdCtV *» Fig. 7. Detail from a 'Nimiquas' dance, showing women with painted faces (from Paterson 1777-9). The Nama women also painted facial masks with plant pigments; in other instances where paint was applied round eyes, nose and mouth, this could have been meant for masks. The methods that were used for making patterns varied: there were two references (Schouten 1665; Vogel 1679—apparently a plagiarism) to a red stone that seemed to have been used as a crayon; usually the pigment (on a greasy face) or paint was applied with the fingers in spots, stripes, etc; the entire face could be smeared and wiped clean in places (Orange River—Wikar 1779; Nama—Schultze 1907); or patterns were scratched in the paint with the finger- nails (Cape—Schreyer 1668) or fingers (Cape—Herbert in 1627). No reasons were given for this painting of patterns other than for cosmetic purposes. CONCLUSIONS In historical times all the Hottentot groups made use of pigments and paints, almost exclusively for personal adornment, often in Please note that these images are extracted from scanned page images that may have been digitally enhanced for readability - coloration and appearance of these illustrations may not perfectly resemble the original South African Museum. Cape Town [etc. ] The Museu
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